![]() ![]() In so doing, Ballard calls into question the academic tendency to define the short story. Luscher's 'open book' by refusing to be reconciled within any meaningful structure. While the stories assembled to form Vermilion Sands (1971) can be described as late modernist pieces, the avant-garde design of The Atrocity Exhibition (1970) effectively explodes The openness of the sequence is, in practice, far less liberated than Luscher claims. Instead, Luscher's use of linear and binary thinking places his critique not only on the side of modernism but also on definitions of the short story that emphasize its impressionisticĪnd epiphanic qualities. He does not consider their respective differences in terms of the modernist/postmodern paradigm. Luscher's account is a revisionary exercise that substitutes 'sequence' for The individual meanings are not subsumed within the whole but instead grow within, what Luscher calls an 'open book'. Which the text does not arrive at a unity, but with each successive story opens and expands. Instead, Luscher proposed the term 'sequence' to denote collections in Luscher argued that the term 'cycle', associated with texts such as Joyce's Dubliners (1914), presupposes a totality. 1 of 5 stars 2 of 5 stars 3 of 5 stars 4 of 5 stars 5 of 5 stars. ![]() In 1989, Robert Luscher distinguished the terms 'short story sequence' and 'short story cycle'. Editions for The Atrocity Exhibition: 1889307033 (Paperback published in 1990), 0007116861 (Paperback published in 2014), 8807816725. ![]()
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